• Journal of Korea Entertainment Industry Association
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• v.14 no.4
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• pp.145-153
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• 2020

In the rapidly changing era of the fourth industry, big data is being used in various fields. In recent years, the use of big data has been rapidly applied to overall cultural and artistic contents, and among them, the use of big data is essential as a film genre with a lot of capital. This research method is analyzed as the film , which won the Palme d'Or Prize of the 72nd Cannes Film Festival in 2019 and the works and directors' award at the Academy Awards. The analyzed value predicts the film's performance through opinion mining, which gives the value of the change and sensitivity of each data cycle, and extracts the utilization index and topic keywords of SNS such as Facebook and Twitter to reflect the audience's interest. Identify the factors. As such, if model performance and model development can be predicted through model analysis of film performance using big data, the efficiency of the film production process will be maximized while the risk of production cost and the risk of film failure will be minimized.

• Review of Culture and Economy
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• v.20 no.1
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• pp.105-128
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• 2017

The purpose of this paper is to analyze the impact of distributors on the movie exhibition by distributor types. For the analysis, the concept 'screen elasticity of box office' is adopted. Using the weekly screening data of 94 hit movies released in Korea in 2014 and 2015, the panel analysis estimates the 'screen elasticity of box office' with the Hausman-Taylor estimator. The results show that the screen elasticity of box office is smaller for vertically integrated distributors(CJ E&M and Lotte Entertainment) and Hollywood distributors than the local distributors(Showbox and NEW) that do not own integrated cinemas. This means that exhibitors allocate a larger number of screens to vertically integrated distributors and Hollywood distributors. As the two distributor groups had higher market share during the period, the results imply that the screen elasticity is related to the market performance of distributors. Smaller screen elasticity of the vertically integrated distributors might be related not to the ownership to theaters but to higher market share of the distributors.

• The Journal of the Korea Contents Association
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• v.17 no.12
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• pp.417-425
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• 2017

The goal of this study is analysing a box office success of The Handmaiden in terms of modified space-time and character. The movie which has original novel induces desire of watching by decreasing property of experience good of movie based narrative of novel. Contrary to novel that is set in Victorian age, the movie changed contents that make a character who realizes masculine of colonialism and women oppressed by man escape through transcending class by adopting period of Japanese occupation. It hereby decreases negative effect by substituting growth and solidarity of women for the element of homosexuality. Also the gender discussion about crimes against female when the movie was running increases factor of sympathy of characters and accord with subject of the movie. Beside that, The reasons of success are detector, star system of actor, effective public marketing of movie trailer and selection of movie won the award for best picture at a film festival.. Movie through adapting novel enhances ability of various creation and blow up appreciation of spectator. The differentiation of adapted hit movie is that the altered content is creative, has subject that corresponding with universal awareness transcending space-time and expresses property of media effectively.

• Cartoon and Animation Studies
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• s.16
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• pp.21-32
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• 2009

This study provides an empirical analysis of box office performance for animation movies released in Korea between 2003 and 2008. Two dependent variables are both the number of audiences in the whole country and the number of audiences in Seoul. Such independent variables are employed : power of distributors, the number of screens, release time, sequel/remake, awards, film ratings, nationality, online reviews, and critics' reviews. For the total number of audiences in the whole country, significant variables are the number of screens, the power of USA distributors, Summer release, and online reviews. Since there is no analysis for box office performance for animation movies released in Korean theaters, this study will be considered to be meaningful.

• Proceedings of the Korean Operations and Management Science Society Conference
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• 2006.05a
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• pp.1851-1856
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• 2006

영화는 대표적인 경험재로 가치판단이 주관적이고 제품 수명주기가 매우 짧아 예측의 불확실성이 높기 때문에 이를 정량적인 방법으로 모형화하기는 쉽지 않다. 이러한 한계점에도 불구하고 한 영화의 상업적 성공을 예측하는 것은 영화 제작자나 배급사, 극장 등 모든 주체에게 수익과 직결되는 중요한 문제이기 때문에 지금까지 다양한 통계 모형이 제시되었다. 그러나 이들 모형의 대부분은 영화흥행에는 영향을 미치나 측정할 수 없는 효과를 반영하지 못한다거나, 추정 모수의 효과가 모든 영화에 대해서 같다는 동일성 가정으로 인해 영화간 이질성을 고려하지 못하고 있다. 따라서, 본 연구에서는 추정 모수의 사전분포를 모호사전분포로 정의함으로써 변수들의 불확실성을 반영할 수 있고, 영화간 이질성을 고려할 수 있는 베이지안 선택 모형을 제안하였다. 모수의 사후분포는 마코프체인 몬테카를로 기법인 깁스 샘플러를 이용하여 추정하였다. 또한, 감독, 배우, 장르 등의 영화 별 속성 변수뿐만 아니라, 입소문에 의한 영화관람 결정 등의 구전효과와 경쟁영화의 개봉으로 인한 효과를 반영할 수 있는 변수를 추가하여 모형의 정확성을 높였다. 2005년과 2006년 상반기에 상영된 영화를 바탕으로 모형을 구축하고 인공신경망 모형과 비교한 결과, 전체적인 예측 정확도에서는 인공신경망 모형과 비슷한 결과를 보이나 상업적으로 성공한 영화를 예측하는 데에는 베이지안 선택모형이 보다 더 우수한 것으로 나타났다. 또한, 개봉 주의 경쟁심화 정도 및 개봉 첫 주의 스크린 수 등이 영화 흥행에 가장 중요한 변수로 나타났으며, 영화 개봉 전 그 영화에 대한 기대치가 높을수록 흥행 성적 또한 좋음을 알 수 있었다. 배우의 힘 및 계절성, 영화 평점 등은 이질성을 고려하지 않은 전체수준에서는 통계적으로 유의하지 않은 것으로 나타났으나, 그룹 간 이질성을 반영한 모형에서는 어느 정도 흥행한 영화를 만들기 위해서는 고려되어야 할 요소로 나타났다.렇지 않을 경우 적절한 벤치마킹 대상을 도출할 때까지 추가적인 분석과정을 반복한다. 제안한 방법을 통하여 조직은 기술적 생산 가능성 외에도 다양한 조직 운영 관점에서 적절한 벤치마킹 대상을 선정할 수 있으며, 이에 따른 목표를 수립할 수 있을 것으로 기대한다. 또한 더 나아가 global efficiency 관점에서 효율적 조직이 되기 위하여 단계적인 벤치마킹 대상 선정과 이에 따른 목표를 수립하는데도 유용하리라 판단된다.$1.20{\pm}0.37L$, 72시간에 $1.33{\pm}0.33L$로 유의한 차이를 보였으므로(F=6.153, P=0.004), 술 후 폐환기능 회복에 효과가 있다. 4) 실험군과 대조군의 수술 후 노력성 폐활량은 수술 후 72시간에서 실험군이 $1.90{\pm}0.61L$, 대조군이 $1.51{\pm}0.38L$로 유의한 차이를 보였다(t=2.620, P=0.013). 5) 실험군과 대조군의 수술 후 일초 노력성 호기량은 수술 후 24시간에서 $1.33{\pm}0.56L,\;1.00{\ge}0.28L$로 유의한 차이를 보였고(t=2.530, P=0.017), 술 후 72시간에서 $1.72{\pm}0.65L,\;1.33{\pm}0.3L$로 유의한 차이를 보였다(t=2.540, P=0.016). 6) 대상자의 술 후 폐환기능에 영향을 미치는 요인은 성별로 나타났다. 이에 따른 폐환기능의 차이를 보면, 실험군의 술 후 노력성 폐활량이 48시간에 남자($1.78{\pm}0.61L$)가 여자($1.27{\pm}0.45L$)보다 더 높게 나타났으며 (t=2.170, P=0.042), 72시간에도 역시 남자($2.16{\pm}0.56L$)가 여자($1.50{\pm}0.47L$)보다 더

• Journal of Digital Convergence
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• v.17 no.10
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• pp.417-426
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• 2019

The purpose of this study is to analyze the success and failure of the movie made by the original game by comparing the box office environment of the movie made by the original game and to derive the necessary elements to make a good original movie. The specific analytical content studied the specific successes and failure factors of the remake of the game with , , and . Analyzes of the research show that the audience can be divided into game fan and non - game fans, and how to reflect the expectation on both sides of the movie is an important factor in making the movie. Also, games of different styles and genres from other themes can not be created in the same way as remixing movies, but flexible diversity and management are needed. Unconditional scenarios of games or game switching of movies can not be popular among the public, and it is very important to analyze specific target audiences.

• Journal of the Korea Institute of Information and Communication Engineering
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• v.20 no.6
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• pp.1087-1095
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• 2016

The study aims to analyze factors of box office utilizing big data. The film industry has been increasing in the scale, but the discussion on analysis and prediction of box-office hit has not secured reliability because of failing in including all relevant data. 13 films have sold 10 million tickets until the present in Korea. The study demonstrated laughs and tears as an main interior factors of box-office hit films which showed more than 10 milling tickets power. First, the study collected terms relevant to laugh and tear. Next, it schematizes how frequently laugh and tear factors could be found along the 5-film-stage (exposition - Rising action - crisis - climax - ending) and revealed box-office hit films by genre. The results of the analysis would contribute to the construction of comprehensive database for the box office predictions on future scenarios.

• The Journal of the Korea Contents Association
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• v.15 no.5
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• pp.151-167
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• 2015

Korean movie maintain their market share from the highest 59.7% to the lowest 42.1% during the last ten years in Korea. However, with the multiplex and wide release strategy, the monopolies of four major distribution companies and three multiplex chain, the polarization of Korean movie's Box Office performance is deepening. With Gini-Index, concentration of film admission has been deepened in intensity from 0.53 in 2004 to 0.85 in 2014. Using Thomas Piketty's method, Movie attendance proportion of Highest 10% of the box office ranking for 2014 sharply increased to 71.2% from 30.28% in 2004 and the lowest 50% of box office ranking dropped from 11.03% in 2004 to 0.08% in 2014. Concentrations of the number of Screen, Screening, the seating Capacity have the same analogy with the polarization of film admission. However, concentration of seating share has maintained a modest increase from 0.22 in 2004 to 0.38 in 2014. This analysis shows that polarization of Korean movie box office performance is not the sole result of Natural selection of market but the result of the monopolies of distribution companies and Multiplex chains.

• Korean journal of communication and information
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• v.51
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• pp.47-64
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• 2010

Korea film market is heterogeneously divided market that comes from competition between Korean movies and foreign imported movies. This research empirically analyzes genre differentiation in Korean film market with three dimensions (film audience preference, production and import, box office hit). The results indicate that, first, audiences who preferring Korean movie preferred 'cultural factor oriented genres', but audiences who preferring foreign movie preferred 'high budget oriented genres'. Second, imported foreign movie genre distribution was little bit different with box office hit genre of foreign movies. Foreign movie was imported not only hit genre (action genre) but also low cost genre (comedy and Drama/melodrama genre), but most of all Korean film was produced in box office hit genres (comedy and Drama/melodrama genre), third, Korean movies hit a box office in comedy and Drama/melodrama genre, but foreign movies hit a box office in action and SF/Fantasy genre. Those results show that Korea movies' genres are concentrated very much in cultural factor oriented genre. Those results can give implication of diversity policy and movie production strategy of Korea film market.

• The Journal of the Korea Contents Association
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• v.16 no.6
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• pp.305-322
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• 2016

With the multiplex and wide release strategy, the monopolies of four major distribution companies and three multiplex chain, the polarization of Korean movie's Box Office performance is deepening. The four major distributor of NEW, CJ CGV, Lotte Cinema distributed 290 movies of 538 movies produced from 2009 to 2014 in Korea. The audience market share of these four distributors is 85.74%, while other 248 movies covers only 14.26%, which are distributed by outsides of the four major distribution system. The concentration of film admission has been deepened in Gini Index from 0.53 in 2004 to 0.85 in 2014. The movies distributed by others rather than four major companies suffers inequality in numbers of secured screens, screening times, and secured seats of movie theaters. In the highest 10% of box-office ranking, there is only one movie distributed by others. The lowest 50% of box-office ranking, there are 186 movies by others, while four companies have 81 movies. However, Occupancy rate of seat of major companies is lower than 16.83% of that of the others in the lowest 50% section. Workers of Korean movie industry are suffered from this polarization and they seek their breakthrough by producing erotic movies for VOD in recent years.